Pepper period or manipulating them Dylan, continually. The Stones have prospered by making the classic assertion whenever it was demanded of them. And with Exile on Main Street, the Stones have chosen to sustain for the moment, stabilizing their pasts and presenting few directions for their future. The fact that they do it so well is testament to one of the finest bands in the world.
The fact that they take a minimum of chances, even given the room of their first double album set, tends to dull that finish a bit. Exile on Main Street is the Rolling Stones at their most dense and impenetrable.
Only occasionally does an instrument or voice break through to the surface, and even then it seems subordinate to the ongoing mix, and without the impact that a break in the sound should logically have. The sound gives him room not only to set the pace rhythmically but to also provide the bulk of the drive and magnetism. The Stones' relationship to race is perhaps the most endlessly controversial topic surrounding the band, and to a certain degree this is understandable, as the love of black music that floods the Stones' records has often mingled uneasily with the band's racial politics, from the dubious taste of the slavery backdrop of "Brown Sugar" to the racist sexual boasting of "Some Girls" that drew a public rebuke from Jesse Jackson.
Still, by the Stones were in an ever-increasing minority of white rock musicians that openly sought to integrate not simply African-American musical influences but flesh-and-blood African American music and musicians into their music.
Despite rock and roll's famously interracial origins, and the deserved reputation of the s as a decade of musical crossover—with labels like Motown and Stax and groups like the Beatles and Stones achieving previously unthinkable popularity among both white and black audiences—by the end of the decade popular music had once again become increasingly segregated.
And whispers persist that the bucolic location was partially chosen to preclude the attendance of "urban" audiences. For all of their dubious appropriations of black style and racialized sex fantasies, the Stones' continued proximity to black performers—from Merry Clayton's vocal on "Gimme Shelter," to Ike and Tina Turner's opening slot on the tour, to the inclusion of Stevie Wonder on the the only musician who, with the releases of Music of My Mind and Talking Book, ran creative circles around the Stones that year —made them the last best hope of a dying interracialism in rock music.
Of course, you can argue that this proximity was little more than a cynical authentication device, a musical version of the "some of my best friends And yet Exile on Main St. At long last a remaster that equals the original 'artisan' pressing. The full dynamics of this very eclectic collection are revealed. A huge improvement on the remaster's bloated sound. Unlike the , this sleeve is not the original single-pocket with front flip-over, but is a standard gatefold. However the artwork is intact.
Altogether a great reissue. Report abuse. Good quality pressing on this vinyl copy too. Superb Stones Album, one of their very best. Good story too in where it was recorded and why. This is a good vinyl recording with good quality pressing. Buy with confidence. I bought this album first in and was underwhelmed because it wasn't a rehash of Sticky Fingers which I loved. By I had started to realise what a great and bold piece of work Exile was in its own right.
I didn't find it easily accessible as an 18 year old, but time and experience began to bring home to me its qualities, which I still appreciate. This is a genuinely great album, although for some, including me it might take a while to appreciate it. Deals related to this item See all deals. The Beatles. Wu-Tang Forever. Wu-Tang Clan. The Black Crowes. Gang of Four. Charles Lloyd And The Marvels. Pages with related products. See and discover other items: disco music , half japanese , record albums , asia music , let it bleed , N Frames.
Back to top. Get to Know Us. Make Money with Us. Amazon Payment Products. Let Us Help You. Amazon Music Stream millions of songs. Amazon Advertising Find, attract, and engage customers. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. We should make it clear that the book discounts the rumour, stating that the employee, who was motivated by a desire to blackmail Pallenberg, did not even have a daughter. We reported that another rumour in the book "has Jagger bedding Pallenberg while Richards has nodded out on heroin".
The book substantiates the rumour of the affair, but does not connect it to Richards's heroin addiction. We apologise for these errors. There is a great moment in Stones in Exile , a new documentary about the making of Exile on Main St in , when Keith Richards defines the essential difference in temperament between Mick Jagger and himself.
Mick's rock, I'm roll. So, too, did everyone else involved, from Jimmy Miller, the producer, to Marshall Chess, the young Atlantic Records executive, to the rest of the group and their extended retinue of session players, studio technicians and hangers-on. He knows what he likes, but he's very loose. Exile on Main St is so emphatically stamped with Keith Richards's rock'n'roll signature that it could just as easily have been called "Torn and Frayed" after one of the two gloriously ragged songs that he wrote the lyrics for.
The title alone sums up his gypsy demeanour, his elegantly wasted look. Or they could simply have called it "Happy", after another track that was actually recorded in a single take when Richards woke up one morning — or evening — and gathered up the only other people who were awake, saxophonist Bobby Keys and producer Jimmy Miller, who was drafted in to play drums in place of the absent Watts.
The whole record was, says Keys, a good ol' boy from Texas, "about as unrehearsed as a hiccup". Perhaps because he was not the controlling presence on Exile on Main St , which has often been voted the greatest rock'n'roll record ever by music critics, it is not necessarily one of Mick Jagger's favourite Rolling Stones albums.
He once described it as sounding "lousy" with "no concerted effort of intention", adding "at the time, Jimmy Miller was not functioning properly. I had to finish the whole record myself, because otherwise there were just these drunks and junkies. Jagger may have been miffed that his vocals are sometimes swallowed up in the soupy mix but he sings with real passion throughout and seems galvanised by the raw rock'n'roll the group are making. If anyone should need a reminder that no one before or since has sounded as louche and limber, so raggedly majestic, they should watch the Stones playing "Loving Cup" live on their subsequent American tour.
Footage of that performance is a highlight of the documentary, produced by the Oscar -winning film-maker John Battsek, which will be premiered at the Cannes film festival before screening on the BBC later in May.
Despite his former reservations, Jagger has gotten behind the planned reissue of the album, too, which comes in a deluxe package containing 10 previously unheard bonus tracks, some of which are alternative takes of familiar songs while others sound suspiciously like they have only recently had new vocals added.
No one in the Stones' camp is coming clean as to whether this is the case or not. But what a sound, and what flames. As Jagger sings on " Shine a Light ," the gorgeous, gospel-infused love song that's Exile's penultimate track:. Skip to content Site Navigation The Atlantic. Popular Latest. The Atlantic Crossword. Who Wants to Watch Black Pain? Hannah Giorgis.